- Richard Scott

Transcription

- Richard Scott

“The entire world will one day hear of
this Prince of Neo Pop Art.”
Vincent van Zon
ISBN 0-620-33988-8
978 06 20 33 9 88 9
www.richardscott.com
Richard Scott
A Worldart Publication
Worldart
This book started out as a concept to market myself. It
ended up being a book of facts about me and my art. A
mini autobiography, if you like. I have dug deep and
exposed myself. Enjoy.
Richard Scott
This book is dedicated to six people:
Andries Loots – for being my soundboard, openly sharing
knowledge, and for the exhausting conversations on art
Sue Lipschitz – for the professional advice and replying
to my e-mails faster than I can type them
John Hargitai – for his brutal honesty and lack of tact
Marika Hargitai – for the endless tips, of which I took
heed on those good old Friday nights. Yes, pigs now fly
Charl Bezuidenhout – for the time, passion and trust
Salomien, my wife – for all her moral and admin support
There are many others, but these six people are the
pillars on which my art career was built.
“I spend more time with my computer keyboard than I do
with my paint brush. This is the real art of modern art.”
Richard Scott
Essays
Gus Silber
Andries Loots
Sue Lipschitz
Claire Breukel
Mark Gillman
Glynis Coetzee
Marco Garbero
Charl Bezuidenhout
Joshua Rossouw
Vincent van Zon
Earle Parker
“Pop art – popular, transient, expendable, low cost, massproduced, young, witty, sexy, gimmicky, glamorous and
Big Business.”
Michael Clarke
Oxford Concise Dictionary of Art Terms, Oxford University
Press Inc., New York, 2001.
All rights reserved. No part of this publication may be
reproduced, in any manner, without the prior written
permission of Richard Scott. All artwork Richard Scott
©
First Published in 2005 by Worldart, PO Box 15417,
Vlaeberg, Cape Town 8018, South Africa
Printed in South Africa by Creda Communications,
Eliot Avenue, Epping II, Cape Town, South Africa, 7460
Edited by Gus Silber
ISBN 0-620-33988-8
Richard Scott, PO Box 243, Kernkrag 7440, South Africa
www.richardscott.com
“Some people are born with the gift to speak in colours.
One of those people is Richard Scott.”
Gus Silber
Contents
Foreword
The colour of noise - Gus Silber
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Essays
Artist Richard Scott – Andries Loots
We must go on searching – Sue Lipschitz
Seduced by Richard Scott – Claire Breukel
The Suite Shop – Mark Gillman
The art of Richard Scott – Glynis Coetzee
Richard’s mental cage – Marco Garbero
And so our relationship started – Charl Bezuidenhout
Too much to comprehend – Joshua Rossouw
Prince of Neo Pop – Vincent van Zon
Lateral thinking – Earle Parker
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38
40
42
44
46
48
50
52
54
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My words
My paintings
My past
My passion
My game
My business
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62
64
66
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My process
My stamp
My method
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76
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Contents; Continued
Painting
The early days
Having fun
Finding a groove
The present
The experiment
82
130
168
202
254
Sculpture
Pop goes the cat – Sue Lipschitz
Wood
Bronze
298
300
312
Print
Etching
Lithography
Giclée
Stamp
322
332
338
344
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New Media
Mobile phone
Light box
354
358
Stuff
Influences
Biography
Biographies
Photo descriptions
Interesting facts
Thanks
364
366
368
374
376
378
Index
Paintings
Sculpture, print and new media
380
386
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“Richard values the creative process as highly as the
finished product.”
Andries Loots
Foreword; The colour of noise – Gus Silber
You know that little trick of the mind, where you look at
a word, and the word is a colour, but the colour of the
word is different to the word of the… well, you know:
RED. Or BLUE. Or GREEN. Or PURPLE.
And the more you try and say it out loud (the colour,
not the word), the more your tongue trips and your head
shakes and your eyes begin to itch, until you throw up
your hands in despair and go back to watching television.
I mention this because it goes to show that colour, like
music, is a language on its own, existing in a realm
where it is free to sing and dance and shout in its own
defence, joyfully and noisily resisting our attempts to
trap it in a net and pin it to a board, so that we may
wonder, when we have done that, why we are left with
nothing but the dust of its wings on our fingers.
Some people are born with the gift to speak in colours.
One of those people is Richard Scott, who can hold a
conversation in LILAC and VERMILLION and AVOCADO
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and AQUAMARINE, sometimes in separate, solid walls of
sound, sometimes in a crowd of sweetly cacophonic
shrapnel, without ever losing sight of the fact that WHITE
and BLACK are the most eloquent colours of them all,
because they are the colours that give contour and shape
and meaning to the spaces that lie between the lines.
Actually, wait a second, sorry to interrupt, but the truth
is, we are all born with the gift to speak in colours. It is
just that most of us lose it or shed it or dilute it along
the way, so that when we encounter someone who has
mastered the language, who holds it at his command,
who plays it like a trumpet or a snare-drum or an electric
guitar, we stop watching television for a moment, we
stop trying to read the words, and we open our eyes and
listen, as if for the first time, to the colour of the noise
that colours the world of Richard Scott, and colours our
world in turn.
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“Richard, the voice of reason, pulling pretentious ideals
off their proverbial pedestals and inspiring the ‘lesser’
considered to come to the artistic fore.”
Claire Breukel
Essays
Artist Richard Scott; Andries Loots
In 2001 Richard Scott forsook his very successful ‘day job’
as technical illustrator-turned-IT specialist to pursue his
passion for art full-time. Born in Britain in 1968 but now
residing in South Africa, he started drawing at an early
age, always scribbling down ideas, but it was to take him
almost 30 years to arrive at his vocation of fully fledged
artist.
His work exhibits some characteristics that may be
associated with the 1960s Pop Art movement, yet it
defies simplistic categorisation, oscillating as it does
between naively decorative and super contemporary.
Scott’s vision is personal and reflective. Though his
images sometimes appear simplistic, they form a
complex and coherent whole. Using a variety of painting,
sculpture, drawing and graphic media, he borrows images
from the world of popular and consumer culture to
convey his social, sexual and perceptual messages. Cars,
planes, flowers, children, nude women, male genitals,
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lighthouses and African animals combine to form Scott’s
personal iconography. He constantly modifies and reexamines old imagery, but when viewed in terms of ideas
rather than chronology, the stylistic cohesion of his work
becomes apparent.
Richard is always passionate about his art, his creative
processes and his conceptualisation of ideas, whether he
works in sculpture, painting, drawing or graphics. Like
numerous other Pop artists such as Roy Lichtenstein,
Andy Warhol, Jeff Koons and Takashi Murakami, he values
the creative process as highly as the finished product.
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We must go on searching; Sue Lipschitz
Richard Scott, like Matisse before him, understands the
importance of making colour itself serve as expression. It
is the coloured surface that is important in all his work,
in particular the brilliant Muizenberg Yacht Race. The
painting is not ‘about’ the yacht race, but about the
strong juxtaposition of tall bands of yellow, purple,
orange, cerise and red verticals, combined together
near a horizontal expanse of blue. The effect of this is
controlled by pattern making, in which sharp black lines
not only delineate shapes but serve – as in stained glass
– to intensify the patches of colour they surround. There
is economy even amid his most apparent luxury and the
economy of effect in his paintings, at the same time, is
sensuous and colourful. Richard’s work has probably been
underestimated because of its apparent light-heartedness
and charm. There is however nothing superficial in
Richard’s continual search for ways towards great art.
It is not a paradox, but part of Richard’s control of his
effects, however brilliant in colour, that he should also
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have been brilliant at graphic design. Like Klee, Richard
is able to create something that seems slight but which
remains tenaciously vivid. He has the ability to control
his design. The sheer inventiveness of the images and
colour produces pictures that neither reproduce nor
totally reject the outside world we see. It is the
imagination that colours Richard’s images, products of an
inner eye that sees much deeper than the ordinary one.
Richard’s work puts back into art a topicality in which
the public enjoys recognising commonplace images and
things. It proclaims its freedom to be anything it likes. It
keeps trying to be exciting and topical, thinking up new
ways to astonish and amuse. Today we are much better
placed to respond to art of our own period as well as to
survey that of the past. Artists have encouraged the
autonomy of the spectator to the point where we may
each be our own artist. There is really no secret about
appreciating art, except to have a belief that art –
whatever it is – is essential to our lives and wellbeing.
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Seduced by Richard Scott; Claire Breukel
Let’s face it, there is nothing particularly revolutionary
about Richard Scott’s artwork. His style is formulaic and
the product highly commercial – some would even go as
far as to say mass-produced. This is what makes him so
accessible. Scott’s paintings, sculptures and installation
works are palatable, affordable and easy to sell – a
gallerist’s dream.
proverbial pedestals and inspiring the ‘lesser’ considered
to come to the artistic fore. His artistic savvy provides
the perfect middle ground for acceptance in the psyche of
every trendy and even not-so-trendy South African.
Further adding to this sexy appeal, Style magazine
dubbed Richard’s work as one of the best art investments
of the year. Who could resist!
(I say ‘him’ as Richard has made himself a brand
synonymous with his work. The amount of times I’ve
heard trendy Capetonians refer to Richard Scott as object,
saying things like ‘My Richard Scott is an earlier one’ or
‘Have you seen the Scott that Mary has…?’).
So against my will I have to confess I too have been
seduced by Richard Scott. There is something about the
vibrancy and cheeky dynamism that appeals to some
sensory receptor inherent in all of us. Even the most
ardent, tight-lipped art critic has to salute Scott’s witty
and calculated rouse to lure the viewer into sensory
delight. His paintings are deliciously tactile, his
sculptures playful, his installation witty and accessible.
Adding to commercial appeal – in a country where we
grapple with notions of what constitutes high or low art
(whether currently relevant or not, the hierarchies still
exist) – Richard would have to be considered middle art.
The voice of reason pulling pretentious ideals off their
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Needless to say, I have never met anyone who hasn’t
liked his work. It seems Richard has seduced us all.
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The Suite Shop; Mark Gillman
Nothing surprises me about Richard Scott’s success.
For once, someone who has overcome the adversity of
the rat race with real ability, has risen to the top.
Watch Richard with a fish tank, see him draw an
aeroplane engine part and then a cartoon, hear him
describe an idea or paint a thought and you will realise
his brilliance.
All this with a humility seldom seen among the truly
creative.
Now if only he’d open a Suite Shop!
(A note from Richard – My uncle in England owned a shop
that sold lounge suites, called The Suite Shop. For some
strange reason, Mark finds this amusing.)
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The art of Richard Scott; Glynis Coetzee
The most common question asked in the art world
is probably ‘What is art?’ There are likely as many
definitions of this as there are people in the world. Some
would have us believe the artistic value of an artwork is
related only to the antiquity of the piece, or to the time
taken to produce it, or even that it is about the monetary
value of the piece – the older, the longer it took or the
higher the price, the more ‘legitimate’ and ‘authentic’
the art.
Well, I disagree. The whole point of art, the fundamental
definition, is that it has no definition. Like our universe,
by its very nature art is infinite and has no boundaries. It
is, and can only be, entirely relative and subjective to the
viewer. If whatever you are looking at has been exposed
to you by its creator as a piece of art, then it is one. And
if you enjoy it for what it is, you will want to own it.
That is art. And for me, and many, many other people,
that is the art of Richard Scott.
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Richard has found a way of communicating his subjective
view of the world in an honest and unique way, so as to
make it completely accessible to almost everyone. With
the simple lines, the texture of the paint on the canvas
and the mood of the image secured in its simplicity,
Richard teases the viewer with suggestions of a
wonderful life.
It is the notion of warm, sunny days, the beach, the
beauty of beautiful girls, animals, trees and uncluttered
landscapes that cheers the observer. This is the
untroubled, carefree life of a child. This is the idea
that we love, and the idea that we wish to own.
This is art.
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Richard’s mental cage; Marco Garbero
Richard, through his work, is looking for a peaceful and
quiet world, where the reality is only a dream of what it
could become in an ephemeral and better life.
All his subjects are marked with a thick black line, trying
to delimitate the inner white, the good consciousness
and knowledge deeply melted in each singular subject’s
true and hidden essence.
His pieces are immediately able to reach the spectator’s
heart, showing him a primitive and simple way of how
life would be without useless mental buildings. Or, could
it be better to say mental cage?
Smartly shining colours and acrylic stratifications showed
me the confidence of his works’ permeated coherence. It
became impossible not to buy the work immediately. A
wonderful piece, that still now, makes me feel happy. Of
all the works in my international collection, it is the work
I most prefer.
Soon after, my son and some friends discovered my
discovery. They subsequently went out and purchased
Richard Scotts of their own.
I am currently introducing Richard’s work to galleries in
Torino, Italy.
When I saw Richard’s paintings for the first time, I fell in
love. I was attracted to the serendipity and the joy that
was fighting to get out.
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And so our relationship started; Charl Bezuidenhout
Richard Scott walked into my office one day and
introduced himself as an artist who lives in L’Agulhas. A
conversation about the arts and marketing followed and
soon we were enthusiastically sharing our secrets and the
lessons we have learnt. We both understood that the
world, in its enormity, is in reality a very small place,
and that much could be achieved by taking advantage
of untraditional tools at our disposal.
What excited me even more was Richard’s art – pieces not
bound by time or place. Here we have an artist who uses
white as a colour, thick black lines and bold colours to
create images that are timeless, powerful and emotional.
Most striking was that these seemingly simple images
awoke complicated thoughts and emotions. When
looking at his work a private bond between me and the
painting immediately settled. It was not necessary that I
know him or his world to see my world on his canvases.
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The next morning I received a characteristically
straightforward e-mail that read, ‘though I’m not that
impressed by the art in the gallery, I’m impressed with
your attitude’. And so our relationship started.
In the months that followed, I learnt that Richard has
an almost impossible-to-satisfy desire to explore and to
experiment, always using his art as a vehicle to learn and
understand. He is prolific because he loves creating and
acts on his creative impulses at every possible
opportunity. He can’t help it. He is addicted to those
canvases he smothers with paint, enthusiasm and talent.
In the process he is making a huge contribution to the
arts on both an aesthetic and a practical level, and it
always starts with a simple black line.
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Too much to comprehend; Joshua Rossouw
Meeting Richard was a fabulous experience. I saw his
work for the first time at a friend’s house. As a gallerist,
I wanted his work. Get hold of him, were my orders, to
no avail. Then one day I was told we were on for lunch
with Richard. We went to one of my favourite bistros
in Hermanus and had a very memorable lunch. I think
I paid.
Here was a guy with drive, ambition and enthusiasm. As
far as the work he was presenting was concerned, it was
going to fill a HUGE gap in a very demanding market.
From this first meeting, Richard laid down a clear
strategy, and was definitely going to make it happen.
He knew what he wanted. I was in.
to comprehend. That’s OK, for there are enough people
understanding where it’s going. Finally!
Drive is one of the main ingredients of achievement,
and here Richard overflows with abundance. Everywhere
he goes, this ordinary guy is making a huge difference.
Each painting takes so many of us where we want to be.
That is a huge responsibility that is bestowed on a
selected few.
The past two years have seen Richard’s work develop a
definite acquaintance with whichever media he indulges
in. Romantic, naughty, nice? His work makes history and
you’re part of it already.
Two years later, Richard is exactly where he wanted to
be, achieving what he set out to do at that bistro. His
visions had me in awe and most of us have never even
imagined such achievements. For some of you, too much
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Prince of Neo Pop; Vincent van Zon
In Gansbaai, Cape Town, for the first time, being one
with nature, bright colours and peaceful whales jumping
and screaming to the world. Great White sharks, who
have been here for millions of years, swim in the deep,
cold waters. Colours everywhere you look. Just two hours
later, early Friday evening, the puzzle of life fits together.
Going back to the city sounds, booking into a designer
hotel, and you know you can always escape back to
inspiring people in an inspiring environment.
As a collector of American Pop Art, I am always
interested in passing galleries, hoping to be inspired.
One gallery, different types of art from African to
international. But one painting got my attention. It
gave me the feeling that everywhere in the world, young
artists are creating, building further and more, but there
are only a few that directly make you feel ‘WOW’!
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Richard’s paintings portray straight colours with clear and
steady figures. Where could I place him, if I wanted to?
Romero Britto (born Brazilian, working in Miami Beach),
Valerio Adami (Italian, 1935–), and of course the straight
lines of Keith Haring (American, 1958–1990). Four
months later, I am now the proud owner of some
beautiful Richard Scotts.
Richard’s support helped raise €4 500.00 towards the
KidsRights program for children with AIDS. In the near
future, when I come to South Africa to join hands with
Archbishop Tutu in support of this project, we will gather
and see the development of his work.
The entire world will one day hear of this Prince of Neo
Pop Art.
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Lateral thinking; Earle Parker
Richard has asked me to write something to include in
his book and says that this may be ‘good or bad.’ This
may be so in more ways than one but in fact I have not
even contemplated such judgements about him or his
work. Generally I try to avoid such rash conclusions.
the electronic imagery of TV, computer and movie screens
at its source. This, together with his technical illustration
experience, contributed to a unique approach to the
process of making art, that seems in accord with
contemporary lifestyle trends.
What has impressed me is the extent to which Richard
is able to integrate his artistic objectives with prevalent
social and financial attitudes and arrive at a comfortable
philosophical approach to these juxtaposed functions.
He has achieved this by donating a percentage of the
proceeds of the sale of his works to charity in
innovatively conceived formulations that patently
assist his marketing but also contribute to the welfare
of others.
I am sure that Richard’s ‘lateral thinking’ approach to
the processes of art is going to afford us with much
amazement and amusement in future!
Having the experience of an era where the artistic
impulse and imagery was rooted in nature, I am
fascinated by work such as Richard’s which seems to have
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“For once, someone who has overcome the adversity
of the rat race with real ability, has risen to the top.”
Mark Gillman
My words
My paintings
I found myself painting white with thick black lines
surrounded with solid vibrant colour. Partly thanks to
Paul Gauguin, who once told a student ‘if you see pure
vermilion, paint pure vermilion’, and mostly thanks to me
wanting to get my message across.
The white represents the pureness of the subject. The
secret world within the subject, the secret world within
every object and creature, big or small. The secrets we,
as humans, only bare to those very close to us. The world
about which we know so little. Society has conditioned
us to ignore this and focus on the outer shell, the
colourful outer shell. We only expose the pureness when
we break down our lines and can no longer cope with the
situation society has presented us with.
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We choose to see the colourful side of subjects. It all
stems from evolution and our origination from apes. A
place where the colourful and strong creatures get to eat
and mate to ensure survival.
Society has conditioned humans to draw such hard thick
lines between our outer and inner beings that we cannot
see the white for the colour. Humans even do this with
nature and man-made objects. We choose to ignore the
animal life and mountains and forests. We choose not
to see the pureness of these subjects, we choose to kill
and cut down to use in our colourful society. Our
conditioned society.
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My past
I have no formal art training. The world of the artist has
nothing to do with your upbringing, it has everything to
do with hype. Van Gogh was poor, Picasso was poor, we
were all poor at some point.
In 1987 I left school and was forced to do two years’
national service. It was a waste of time to me, except the
army taught me respect. In 1989 I got a job as a trainee
Technical Illustrator. You know, those guys that draw
exploded views of engines and stuff. I spent two years
drawing small nuts and bolts as I slowly moved up the
ranks to be in charge of 10 people.
Seven years later, in 1995, I left and started an
Internet company called Internet Online. The aim, purely
marketing, was to give DJs free websites in exchange for
exposure. I was way ahead of my time. Unfortunately, I
was too young and naïve to grasp the business aspect of
it all. I sold everything I had and went to America to be
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discovered. On my return, three months later, I had
nothing. My dad sent me R30 a week. I was poor.
I found a restaurant that gave me food in exchange for
designing menus. I applied for job after job. Finally, with
the help of 5FM DJ Mark Gillman, I pulled a job for
R7 000 a month. This soon went to R12 000. From R30 a
week to R12 000 a month, I was made, or so I thought.
Two years passed and I decided to start another Internet
company.
In 1997, with the help of Salomien, Mark Gillman and a
few back-handers, I founded Shocked. In 1998 we took
on two partners and Shocked became one of Cape Town’s
leading IT companies in two years, with a head count of
25 and an annual turnover of R3 million. In 2001, I
implemented my exit strategy to take up my real
passion, art.
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My passion
In 2001, I played around for a while to find the right
medium, style and use of colour that would get my
feelings across.
I wanted to show the world, through my art, that I
disliked conditioning. This has resulted in what we today
term ‘human society’. The whole human element brought
on by greed and policing has led to the building of
barriers between what we think is freedom and what real
freedom is. I wanted to be unique. I wanted to take the
lead. I wanted to reproduce my thoughts through objects
in the simplest, purest and most colourful way.
I have always had a passion to create, now I had found
how I could marry my hatred of conditioning with my
love of art. Art was my answer. This was a great day. An
even greater day when I dropped off five paintings at
Hout Bay Gallery and the owner, John Hargitai, agreed
to hang my paintings in his gallery.
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John’s partner Marika bought my first painting, right
there and then, for R300. The other four were sold in
the same week. Seven more sold in the following three
weeks, and 112 in the next 10 months. Two years later,
sales topped 500. In the beginning, I remember looking
at the art in Hout Bay Gallery wishing I could hang there.
Now I read ArtReview and wish I could hang there.
If I look back now, as I read about art, I realise that the
work of most artists worldwide follows a theme close to
them or their country. I was passionate about being
universal and not taking on a label. I steer clear of issues
and focus on simplicity and colour. I want people to
enjoy my art on their walls, not spend hours trying to
figure out the issue, meaning or hidden message. Maybe,
as you become more renowned, it cannot be avoided.
With this in mind, I realise art is a game. I was hooked
and loved the game of art. Yet, for me, the game had
only just begun.
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My game
I soon realised that the art world was quite exclusive.
Art, to me, has three main ingredients: hype, time and a
product, in that order. Art requires the right amount of
hype delivered to the right person at the right time. It
helps if you have a unique, brightly coloured product and
an artist with an attitude. A catalyst for conversation.
I soon became wise in the ways of the art world. I do not
paint to eat, so my arrogant approach was not welcomed
by most. In the beginning, rejection took its toll.
Adapting quickly, I used this to my advantage. Rejection
and criticism became a drug as I thrived on people’s
negative comments. I allowed myself to get sucked in,
and tried to control my own game. I managed this with
some success but soon realised that the game has two
sides. You need to be on both. It also takes time to get
to a point where people call you. Once you reach that
point, the game becomes a lot easier to control. I wake
up most days thinking ‘Which face shall I wear today?’
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A lot of people did not like me and my new found
success, yet those who chose to see through this and
back me were the ones who benefited both financially
and in recognition. In any normal business, it is easy
to promote your product or service. There is little to no
personification involved, just a product or service
you are promoting. When you are an artist, promoting
yourself, people start to use words like ‘arrogant’ and
‘narcissistic’. Most artists do not play the art game, the
business game. Artists think that hanging their work in
all the galleries in town is the answer. It is not what you
know, but who you know. In today’s art world, if you
want to get to the top, you have to be passionate,
selective, informed and a narcissist. It is a business call.
And so I conform to the business of art. You scratch my
back, I’ll stab yours, or is it the other way around?
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My business
I spend more time with my computer keyboard than I do
with my paint brush. I spend more time in front of my
monitor than I do in front of my easel.
One of my critics and buyers, Keith Sharper, says I am the
best marketing person he knows.
Art is marketing, marketing is my business, business is
my life and life is my art. And so the circle continues. In
2002 I sold my Internet company to take up art. In 2004
I sold my house to invest in my art career. In 2005 I sold
my plot to buy my first Kentridge and Murakami. I am
passionate about my business. I am also passionate
about sharing knowledge – it elevates you. In 2004, I
donated artworks for auction, and they raised more than
R100 000 for charity. I intend setting up a foundation to
better manage my donations and channel more into the
arts. My business is my life, I cannot rest. When I go
away on holiday you will catch me working on my mobile
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phone drawing pictures, downloading e-mail. Only when
I leave at 4am to go fishing, with my good friend Chris
Basson, do I do nothing. Actually, even then, we talk art
while waiting for the fish to bite.
As soon as a piece is complete it goes up on my website.
As soon as I see something in the press, it goes up on my
website. I am very serious about my website and it is
used as a reference for all my material, from admin, to a
catalogue of works, to the dates of works produced. It
even carries my own art collection. Sue Lipschitz and I
only met face to face two years after our initial
telephone conversation. We conduct business via
the Internet.
Maybe it is because I can paint five large paintings in
one day. Maybe it is because I had an Internet company.
I am just happy here all on my own, making art my
business.
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“It became impossible not to buy the work immediately.”
Marco Garbero
My process
My stamp
When I started painting full-time in 2002, I wanted a
unique and different signature. I tried many different
things but none was brilliant or original. I was playing
with children’s wooden ABC blocks one day in my dad’s
garage. That is when the original idea started. I
assembled the letters r-i-c-h-a-r-d, and proceeded to
stamp them into the impasto paste. The children’s blocks,
in concept, were effective, but as a finished product,
lacked lustre. I also ran the risk of the concept already
being used somewhere else in the world.
One day my dad was routing some furniture. I grabbed
the router and routed my name into a block of wood. In
my haste I quickly put some impasto on a canvas and
applied the stamp. When I lifted the stamp it was a
reversed image. However, the effect was what I was
looking for. I had to route my name in reverse, and so
the stamp was born.
74
The thing I liked most about the signature was that it
was not visible under the masses of flat colour. You had
to stand close to the work to see the signature. My main
aim was the style of work, the thick black lines, the
white subjects and flat colour. The painting itself is the
signature. This was proved when Andries Loots called me
one day to say he was at the AVA (Association of Visual
Arts) members’ exhibition, and immediately recognised
my work from across the room.
The original wooden stamp has been lost along the years.
I painted one piece with this stamp, a self portrait that
is now in a private collection. The second stamp, which
was the signatures for my first 700-odd paintings, is on
permanent display at Hout Bay Gallery. It has been
replaced with a 2004 model due to wear and tear. I
follow through the r-i-c-h-a-r-d stamp in my prints by
embossing the name. In sculpture, it is cut out of the
side to be displayed prominently as part of the work.
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My method
I buy primed obeche canvases from Geoffe Vye. Geoff
makes my canvases to my specific requirement without
hesitation. Each canvas is double-folded and stapled with
stainless-steel staples. Normal staples rust near the
coast, which can spoil an artwork. A bar is made,
vertically, for every canvas. This is not for support, but to
allow me to carry the canvas from the table to the sun
without spoiling the wet paint.
I then draw on the canvas. Mostly out of my head, mostly
from printouts of existing work on my website. I then
apply two or three coats of colour acrylic. Because I use
such huge quantities of paint, I have sourced a local
manufacturer, Harold Schub, who works closely with me
to mix up my 30 colours. Double pigments are used to
create world-class acrylics. The irony is that the paint
is applied with cheap brushes from the hardware store.
I apply an acrylic impasto paste, made by Dulux (Dura
Plast), to the canvas. I then stamp my signature in the
wet impasto and wait a day for it to dry, or five days
in winter.
When the colour acrylic dries, I apply my black line with
a round brush, cut with a scissor to give me various
effects.
I then paint a coat of white acrylic over the impasto.
If Richie gets hold of the canvas, in one of our painting
sessions, I need to do two coats of white to cover our
day’s fun.
76
I leave the painting to cure for a day or two and then
name the work and put on a hanger. Works are then
photographed for reference and my website. Each work
is then wrapped individually for shipping.
77
“Richard Scott is one of those artists whose name seems
to be hyphenated – Richard Controversial-Scott. In my book,
controversial is good – the word has been used about me
a few times.”
Brett Kebble
Painting; The early days
I have been painting and drawing since art classes in
1982. I even have a painting, that my mom likes, which I
painted in 1987. But the early days for me were in 2002
when I became a full-time artist. I knew very little then
about the art world and have since been sucked up into
its mix of hype and personalities.
The early days are somewhat missed. Heavy drinking
sessions every Friday night at Hout Bay Gallery.
Constantly bombarding galleries with marketing material
without stepping on toes. I miss that. I was recently
asked to do a commission. I declined as the best part
about something is wishing you had it. I would rather
someone wanted my art than had it in their possession.
That is a serious take on marketing, but if pulled off, is
very rewarding. I did, however, not decline commissions
in the early days.
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The early works I produced were created out of the wet
impasto. There are only 30-odd works I did like this.
I have selected a few works from this early period. These
works were all done before Richie was born and I had
responsibilities other than my own. The days when we
drank copious amounts of wine and ate out at restaurants
every night.
The innocence and naivety can be seen a mile away.
83
Two Trees in a Field of Sky
90 x 90cm
Impasto and acrylic on canvas
This was the first work I produced, and sold, in my career
as an artist. Marika, owner of Hout Bay Gallery, bought it
for R300. I tried to buy it back from her two years later
for R5 000. She said NO!
I remember going to Marika’s house and seeing the work
years after I painted it. You can clearly see it is a very
early work. This work is the only one produced where the
black lines are broken. In fact, this work was also done
on a home-made pine frame.
Naming a painting is as important as painting it. This is
one of my favourite names for my works.
84
85
Yellow Tulips
50 x 50cm
Someone once told me my art is very naïve and will go
down well in Holland. They were right. This comment
made me paint this piece.
86
87
Yesterday Today and Tomorrow
50 x 50cm
When I bought my first house, I planted lots of plants
with the help of my mom. I always thought a Yesterday,
Today and Tomorrow had three different-coloured flowers.
While planting theses flowers with my mom, I discovered
that they bloom in a deep purple and over a period of a
few days turn white. This inspired me to do this piece.
This was the first piece I did using the distinctive circles.
I have carried this through to trees, bougainvillea, flying
pigs, space ships and yachts.
88
89
Grey Cat
50 x 50cm
This cat, the first cat I painted, was the cause of a
stigma that took me two years to shake off. At one point,
people were calling me ‘The Cat Artist’. All I painted was
cats. Yes, I was giving in to demand, knowingly losing
the battle to win the war. It almost cost me the war until
I refused to paint cats.
So people finally stopped asking for cats and the war was
won. I release one or two pieces with cats every so often.
90
91
Fields of Gold
100 x 100cm
Inspired by ‘Fields Of Gold’ – Gordon Sumner (Sting)
You’ll remember me when the west wind moves
Upon the fields of barley
You’ll forget the sun in its jealous sky
As we walk in fields of gold
So she took her love
For to gaze a while
Upon the fields of barley
In his arms she fell as her hair came down
Among the fields of gold
Steerpike Ltd
©
Administered by EMI Music Publishing S.A. (Pty) Ltd
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93
Cape Town
50 x 50cm
This piece, along with three others, was bought by a
friend, Keith Schaper. Every time we visit, I see the piece
and allow myself to be taken back to my early days. It
was done with pure innocence. Compare this piece with a
piece further in the book. You will note the naivety of the
work compared to the clinical correctness and mass
production of my present work.
I have tried to break away from the demands of clients,
galleries and financial gains by experimenting with new
mediums. This allows me to go back to the early days.
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95
Pink Panties
100 x 100cm
I do not have a fetish for panties, I have a fetish for
simplicity. I remember creating this work and wondering
what colour the background should be. As with most of
my work, the decision on the colour is made as I apply it.
There are no premeditated colours, shapes or subjects. It
all just flows.
In the same vein as Blonde Woman With White Socks and
White Panties, I wanted to create some works that would
shock a little. I was taken aback by the welcome such
works received in art circles. It opened my mind up to
explore this subject further.
96
97
Woman on a Swing
100 x 100cm
I saw a picture on the Internet of a woman on a swing.
I drew this freehand onto a canvas and grabbed the
nearest colours and painted it. I was not pleased with
the final work and I am still baffled today why so many
people like it.
To me, it is my most naïve work. You can see it is a
woman on a swing, but there is no detail. Only from the
big naked bum do you derive this conclusion. I have had
many requests to produce women on swings, but I cannot
find inspiration. I am now thinking of pole dancers
thanks to a Sarah Danes Jarrett I have in my collection.
I do not know what inspired me to produce this work. It
was just an image then, but now it seems so important to
find the reason.
98
99
My Blue Friend
50 x 50cm
This piece is a portrait of Salomien. It is one of two
early works I did of her. Originally done with silicone
on a home-made canvas. It turned out to be a set of five
works in the series that all sold to one client in Belgium.
The blue means nothing, just a colour. The focus is on
your friend – your wife is everything and your friend.
100
101
Four Seasons: Summer, Autumn, Winter, Spring
30 x 30cm
The amount of colour in each of these works represents
my favourite season (at the time of painting them).
Summer came in first, with masses of yellow. Then came
spring in green, followed by autumn in burgundy. Winter
came in last with the least amount of colour.
102
103
Camp and Loving It
50 x 50cm
When I was experimenting to find my style in early 2001,
I painted four penises on a long canvas. The colours were
black, white and two shades of brown, which represented
South Africa’s main racial groups: black, coloured, Indian
and white. I called it Mine is Bigger Than Yours. I am not
sure why, but I painted over the work, as I do with many
of my works. Weeks later I decided to paint the penis
again, but as an icon for gay men versus the
racial approach.
The result was Camp and Loving it. As I write this, I think
I will redo Mine is Bigger Than Yours on a square canvas.
104
105
Bicycle Race
100 x 100cm
This is the first commission I did. I did not enjoy doing
commissions and do not do them anymore on a small
scale. Of all the commissions I have done, this work is
my favourite.
There are various styles of my work. The early work, like
this piece, is more flowing and less defined. This piece
cuts out finer detail, like bicycle spokes and legs,
allowing your mind’s eye to fill in the missing pieces
and tell the story.
This work was commissioned for Adrian Gie for his gym
in Hout Bay.
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107
Cat Series (180): Purple, Red, Lime, Yellow
30 x 30cm
Andries Loots was responsible for the small series works
that have become so popular. In 2002 he commissioned
me to do nine works in bright colours. That was the start
of a frenzy.
I decided to take my existing images and turn them into
series works using different colours, yet making each
work an individual work of art. In the early days, I did
not produce as many series as I do now. I had not yet
mastered the art of colour and pop-like reproduction.
Here you see four of the six cat positions, each painted
in 30 different colours.
Thanks, Andries.
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109
Three Proteas
50 x 50cm
I do not remember much about this piece, other than it
was bought by a collector from Holland, Arjan Buikema.
Many of my pieces are acquired by people from Holland.
This was the first time I mixed layers of colour. In fact, it
was the first time I mixed the actual colour of the paint.
Now I remember: I wanted to experiment with the use of
duller colours in my work. Up until now, I had only used
bright colours, making my work very vibrant, primary and
sellable. A few people told me to ‘stick to bright colours’
to sell. The sale of this piece proved them wrong.
110
111
Long and Winding Winter Road
100 x 100cm
I painted this piece immediately after Fields of Gold.
As I type this, I wonder if I painted this to balance out
the overpowering summer feeling one gets from Fields
of Gold. Perhaps I did. People often ask me if I am a
Summer or Winter person. I like both Summer and Winter
equally. Summer brings warmth, social activities, the
beach, cold beer and late nights. Winter brings rain,
reading books, dark mornings, blankets, home-made soup
and mom’s meat-and-tattie pie. I just had this incredible
urge to paint this grey piece, knowing people would
prefer the brighter Summer piece of Fields of Gold.
Strangely enough, both works were bought by one client
who resides in England. Also, a possible influence is one
of my favourite songs, ‘A Winter’s Tale’ by David Essex.
112
113
Bourgainvillea
100 x 100cm
This piece has a few tales to tell. It was the first of
many bougainvillea paintings. I think I will use this
opportunity to explain a small error in a lot of my work.
Spelling of the titles. I have over the years titled my
work myself and my spelling is atrocious. I often get
comments like: Did you spell that wrong on purpose?
I have always spelt bougainvillea with an ‘r’ before the g.
So now you know. I cannot spell and the titles of my
work are as they are. Sometimes you will see a correct
spelling and sometimes an incorrect one. This work is
the first of many bou-r-gainvilleas I have painted over
the years.
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115
Mind, Body and Soul
100 x 100cm
I have never liked this work. You produce some good
stuff and you produce some not-so-good stuff. To me
this is the latter. Many people will beg to differ, but I
am writing this book so that you can get an insight
into my real thoughts.
You have to bear in mind that it was a commission.
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117
Lime Cat
100 x 100cm
Lime cat was a commission for an auction to raise funds.
Mark Gillman auctioned the work on Radio 5FM in early
2002. It was valued at R1 600, and raised R1 900. A work
of this size today (2005) is valued at R7 500.
The first cats I did have such innocence.
118
119
Fishing Boats Returning to Hout Bay in Winter
50 x 50cm
I took a photo of Salomien on Hout Bay Beach one
winter’s day. After downloading the image I noticed
fishing boats in the distance. The sky was grey and
wet, the sea a winter’s green. I used the photograph
as reference to paint this piece.
I remember the beach was empty and not a soul could
be seen. There were just the fishing boats returning to
the harbour.
This work also featured on the front cover of the Hout
Bay telephone directory. I use to tell people every
house in Hout Bay has a Richard Scott.
120
121
Blonde Woman with White Socks and White Panties
100 x 100cm
I wanted to create a work that would not go down well in
mainstream galleries. This work was accepted with open
arms. Little did I know that pornographic-type images are
a huge part of art. I also wanted to give it an awkward
title. That, too, went down well.
Defeated, I turned to producing Neapolitan Sex, Orange
Desire, Yellow Fire and Woman with Orange Skirt. These
were not well accepted but sold privately to English and
Belgian clients. I had achieved my goal to shock but was
shocked in return.
This piece also has the imperfection in the missing
yellow piece between her left arm and body.
122
123
Two Sunflowers
50 x 50cm
Ever since I can remember, my mom has asked me to
paint her sunflowers in a vase.
Over the years I did my bit and painted the odd
sunflower for her, but they never worked out. When I
turned to painting full-time, the question arose again.
This piece is the result of years of seeking the perfect
sunflowers to present to my mother. The irony is that
it sold before I realised this.
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125
Painting; Having fun
As I look back at this period of my career, I realise I was
having a lot of fun. You could call it experimental, but I
always experiment, which is why I have a dedicated
‘Experimental’ section in this book.
Having fun and making money is very rare. I consider
myself very fortunate – although my mom would say that
it is all my own doing.
At this stage I was adding new colours to my existing
range of acrylics. I was ordering huge canvases and
painting small pictures on them. I moved out of my spare
bedroom into a full-time studio. I was invited to exhibit
in London. Fun, fun, fun, yes, but I was also growing as
an artist and bigger commitments had to be made. I
constantly asked myself ‘Do I want to grow or do I want
to stay small and have a life.’ I sold my internet company
so I could have a life.
130
With this in mind, I constantly strive to keep the ‘life’
element intact. I only work half days and spend the rest
of the day with Salomien and Richie.
In growing bigger and keeping the ‘life’ element, I have
resorted to delegation. I have an agent who represents
me at galleries and functions, two assistants who help
with preparations of canvases and sculptures. I have an
admin assistant who runs all the books and follow-ups.
This helps me to spend more time on the computer,
conceptualising, and in the studio, painting, sculpting
and having a life.
131
White Skirt
75 x 75cm
Prior to completing this work, I had only painted three
nudes. This work should probably be in the previous
section of the book, but I consider this more of ‘Having
Fun’ than ‘Early Days’. This piece was the beginning of a
flood of nude women I painted. I tried to go into the
psychology of why men bought these pieces. One of my
outcomes was that Mr Average now had a licence to hang
a naked woman on his wall. And while he looked and
fantasised over the woman, his partner was oblivious to
this luxury he had afforded himself. Then, again, perhaps
I am talking rubbish.
132
133
Two Down, Seven to Go
150 x 150cm
This was the third piece I did in the series Nine Lives. See
the ‘Experimental’ section later in the book.
134
135
Cyan Panties
75 x 75cm
I love powder blue. It is third on my list of favourite
colours with which to work, after white and orange. I
thoroughly enjoyed doing this piece. The mix of
powder-blue paint and a woman got me excited. The
magenta panties and boots were added days after
I thought the work was complete.
This work spurred a series of works with boots and
panties, which still appear in my work today.
136
137
Olive Daisies
75 x 75cm
I went through a stage in which I painted a lot of olive.
It was spurred on by Olive Tree, which was exhibited in
London. I even went to the extent of ordering six litres
of olive acrylic. The phase soon passed. At this point I
mainly used the primary and secondary colours in my
work. I introduced three new colours that featured
regularly in my work. They were olive, lilac and powder
blue. The nine colours were used extensively in this
period to produce a number of series works.
Today I use a standard set of 30 colours, excluding
black and white, which have been custom-made to my
specifications. The acrylic comes in one and five-litre
cans and I go through some 30 litres of acrylic and
impasto a month.
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139
Cheeky Lime Cat
50 x 50cm
I was experimenting with white space. I was trying to get
as much white to show as I could. There are a few works
I did around this time with no colour at all, only white.
It always amazes me how the simpler you keep the work
the better.
140
141
Tree Series (6): Apple Trees, Red Woods, Plum Trees,
Blue Gums
150 x 150cm
I was painting all these little works and feeling cramped
in. I took what I thought was a huge risk and painted
six 150 x 150cm canvases with lots of free space. I was
delighted that people bought this work and it spurred
me to create more works of this size with more and more
empty space. It is inspiring when people buy your work
and even more so when you think that every day they will
look at your work, in their home or office, even if it is
subliminal. I get the most joy when people take the risk
and buy my work for investment purposes. That’s an
honour that is even tougher to live up to.
Marco Garbero, an Italian entrepreneur and art collector
bought Apple Trees.
142
143
Cherry Tree
150 x 150cm
Outside Hout Bay Manor hotel is a Jacaranda tree.
Springtime brings the Jacaranda to full bloom. An
amazing sight. That tree was the inspiration for
Jacaranda Tree and many others like this piece. I chose
to put Cherry Tree in the book as it is my
favourite work of a tree.
I am in awe of trees. The tall blue gums as you drive from
Kirstenbosch to Hout Bay. The power of the trees in Lord
of the Rings. When I was a kid there were treehouses
everywhere. I remember watching those wilderness
programmes and those huge treehouses. I want to build
Richie the biggest treehouse and spend many nights up
there sleeping, exploring and reliving my childhood
memories. So, yes, trees have a special place for me.
144
145
Hot
75 x 75cm
I was standing in front of a blank canvas with only my
shorts on and sweating in the hot summer sun. I thought
of a beach scene and drew the umbrella. Once that was
done I decided that was it, one umbrella. The colours
fill in the rest of the message. Cape Town summers are
amazing. The sun only sets at 8.30pm. You’re still sipping
beer on the beach at 9pm. Some nights you wonder if it
really gets dark at 5pm in winter.
I took some flak from my usual critics on this work,
‘What, so now you’re painting umbrellas?’
146
147
House on a Hill Through a Window
100 x 100cm
I spent 10 years drawing three-dimensional exploded
views of engine parts. I thought I would put this to good
use and create some depth in my work. The Marketing
Manager of Robertsons Spice bought this piece. He was
telling me how this piece moved him. He was going to
hang it on the wall in his office in Johannesburg. I
thought this was awesome. Every day this man goes
to work, sits at his desk and takes a look through
my window.
148
149
Friends Series (5): Red, Orange, Yellow, Green
50 x 50cm
These works had been around since early 2002. My faces
do not get much attention. One day Joshua Rossouw
called me and asked if I could be in Hermanus at 10am
the next day with these four works and My Blue Friend,
which was a set of five.
I told Joshua that the works were in the back of my
cupboard and waiting to be unwrapped in 2020, my
retirement money. He said he had a Belgian client
wanting the five works. I was sad to let them go but I
would rather they be hanging on a wall in a house in
Belgium than in the back of my cupboard. I resorted to
other plans for my retirement. I bought a few Hodgins.
150
151
Hout Bay Summer
50 x 50cm
Living in Hout Bay for eight years has had some influence
on my work. There are always boats on the water. Either
fishing vessels, kayaks or yachts. There are always people
on the beach. It is too busy for me. I try to simplify the
hustle and bustle of any subject in my work. The house I
live in now has an upstairs mezzanine area and the
window looks out onto the sea. On Sunday mornings, if
you go up there and look, you see a small glimpse of the
sea and some boats. It is a better picture than being on
the beach with all the people.
152
153
Lonely Ship in a Sea of Sky
75 x 75cm
I was experimenting with simplicity and space. My mom
commented ‘You’re wasting so much canvas’. I thought
that was a great idea. So I went about producing works
in one corner or on one side of the canvas while masses
of space were exposed on the other. I even ordered a 3m
canvas and did the same. This was awesome because
now there was a full 1.5m x 1.5m of space, nothing,
just flat colour.
154
155
Olive Face
75 x 75cm
This is one of three works where I coloured in the face of
the subject. I am not sure what I was trying to achieve.
I think I might have been bored with the plain olive and
spontaneously added in the orange. I kind of liked the
result. Strangely enough, all three works had orange and
olive in them. I take great pleasure in painting nudes. I
should probably say female nudes. I have not painted a
male nude, come to think of it. I wonder if the majority
of male nudes are painted by gay men. I must do some
research.
156
157
Red Swinger
75 x 75cm
This piece was part of two swinging women I did for my
London exhibition. I wanted the woman to look young.
The perky breasts show this. The title, as with all my
work, probably has some deep meaning that has yet to be
discovered. For now, it is a play on words. Young woman
swinging in the park or swinging in the bedroom.
158
159
Flower Series (30): Beige, Orange, Egg Yolk, Sand Red
30 x 30cm
I created the ‘Flower Series’ for my exhibition at VEO
Gallery in De Waterkant, Cape Town, December 2003. It
might be the madman in me, but I enjoy painting circles.
As individual works, these pieces do not look as good as
a series hanging on one wall. People were buying one
and two until someone came along and rescued the
remaining 25.
Galleries ask me if they can sell them individually. I hate
it but you have to say yes. Do not say what you are
thinking, I have tried it.
160
161
Cheeky Lilac Cat
50 x 50cm
I wanted to include this work along with Cheeky Lime Cat.
It was a commission based on that work. Make sure the
lilac goes through the ear, was a comment I remember.
It shows the commercial element to my art. It almost
dilutes the value of the work. Yet in modern society, the
greed factor and mass-production dissolves this fear,
allowing originality to be maintained. Demand and supply
also come to mind and is a fascinating topic. When I had
my Internet company, demand and supply would come up
in every meeting we had. Corporates pay huge sums of
money to analysts to tell them about demand and supply.
162
163
Painting; Finding a groove
Towards the end of 2002 I started to find a groove with
my paintings. I was comfortable in what I painted and
had confidence. It was a nice feeling. Routine set in and
my art was running like a business.
I maintained the groove with my paintings and found
excitement and challenges in other media. I started with
wooden sculpture. Later I moved on to lithography,
etching and metal sculpture. In 2004 I slowly found
grooves with these media as I learnt more of their
implementation. Sculpture and print are more versatile
than painting, which is another way of saying more
challenging. My primary medium was painting and I had
it down to a fine art. I discovered that other media were
at first tough to crack and unsettled me.
of interest in these media in the South African
buying circles.
Despite all the experimenting with new media, I decided
to take things a little slower and outsource. Outsourcing
other media helped me to get back into my groove with
painting and life.
Today I have hundreds of ideas to produce hundreds of
different art projects. I am happy in my groove and will
grow in the groove. My concepts will see the light of day
as I outsource more and appoint more assistants.
It is very easy to lose focus in print and particularly
sculpture. This is brought on by a combination of
technical know-how, endless possibilities and a lack
168
169
Olive Tree
100 x 100cm
I was not aware at the time, but this piece caused quite
a stir at my London exhibition as it was sold many times
over. I was cooking one day and spotted an olive tree on
the side of the olive oil bottle. I took the bottle to my
studio and this piece was the result.
170
171
Red Roses
75 x 75cm
This painting has a unique story. I painted it completely
red and sent it off to my London exhibition. It was
exhibited for a week and then came all the way back to
South Africa. I then took off the top section of red and
it looked one hundred times better and sold immediately.
The original work was not as nice. If you go to
www.richardscott.com and click on Press, Summer 2003,
you will see the original under ‘Lennox Exhibition’.
172
173
Fresh
50 x 50cm
I wanted to create a cool, fresh, icy feel when the viewer
looks at this work. Growing up in Johannesburg, we used
to holiday in Durban every year. I remember spending
most of my holidays in the warm Indian Ocean. When I
moved to Cape Town in 1994, the sea was icy and
refreshing.
174
175
A Friend
100 x 100cm
Orange and magenta have this amazing feel when used
together. I swapped the background colours around on
this work. The orange being the fiery personality of the
man and magenta, the woman, a more glamourous
approach to life.
The woman almost appears behind the man. These small
things I only pick up once the work is complete. It was
not intentional.
176
177
Bougainvillea Series (30): Yellow, Lilac, Olive,
Powder Blue
40 x 170cm
I was painting on landscape panels of 170 x 40cm, and
something was not working for me. Marika Hargitai, of
Hout Bay Gallery, pointed out the obvious: I should
paint them portrait, 40 x 170cm.
After this, the works just flowed from what was a
bottleneck in my creativity. I could have painted
bougainvilleas until they came out my ears. I had a rule
when I first started painting. I wanted to paint on square
canvases only. People would be able to recognise my
work from across the room, just by looking at the square
canvas. Rules are made to be broken, although I stick to
the square principle for 90% of my work.
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Purple Playground
100 x 100cm
This piece was also for the London exhibition. The curator
asked me to do a few swing pieces. As I mentioned earlier
in the book, I cannot find inspiration to do these works
on demand. So why include it here? Perhaps I am angry
at the blatant disregard people sometimes have for
artists, in assuming they can just give of their time and
work to produce a piece that happens to suit the couch.
I need to do a whole book on that subject.
This work is one of a few where I did the ropes of the
swing in two black lines with white in the middle. The
others have single black lines.
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Summer Cape
75 x 75cm
When I first moved from Johannesburg to Cape Town, in
1994, I used Table Mountain as my main beacon. On rainy
days, when the mountain was covered, you tried not to
go out, for fear of getting lost. I remember been in a
mad rush to do everything, as Capetonians went casually
about there daily business.
Table Mountain features more prominent now, as I rush
into Cape Town from Melkbosstrand, with the outline on
the horizon for the majority of the way.
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Robben Island Lighthouse
75 x 75cm
I was going through a stage of painting lighthouses. I
have a slight fascination for them and collect postcards
of lighthouses. So if you see one send it to me at:
Richard Scott
PO Box 243
Kernkrag
7440
South Africa
This work is a series of four lighthouses I did in different
shades of blue.
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Sea Series (30): Purple, Blue, Red, Orange
30 x 30cm
One of my biggest inspirations is the sea, I love
swimming in the sea, living near the sea and smelling
the sea. The salty taste of eating your own freshly caught
crayfish to the smell of your hands and clothes after a
day’s fishing. From the horizon, to making sand castles
with Richie on the beach, the sea is such a powerful force
for me.
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Sea Blue Tree
150 x 150cm
I originally created this work as an entry for the 2003
Brett Kebble Art Awards. I later decided on Play My Blue
Movie and White Skirt. Both works were rejected at the
first door. At the time, I had just produced my first
wooden sculpture. I remember Salomien telling me to
enter the sculpture into the awards. I took a chance and
it got into the finalists’ exhibition. Back to the tree. The
blue was a mix I concocted. I was trying to get a dark
blue with some mood to give the tree a sea-blue feel.
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Orange Playground
75 x 75cm
I wanted to include this work because of the title. I
wanted to show that women have their own space and
playgrounds. Be it a bikini or a pair of sunglasses.
To me, a woman on a swing, in her playground, seems
untouchable.
When I was young, I wondered why the girls on the park
swings were having such fun. I wanted to hang out with
those girls. If only I knew then what I know now.
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Play My Blue Movie
150 x 150cm
The title of this work only came days after completion.
It was drawn freehand, so I was a little worried about
getting the perspective of her torso and leg position
right. The woman is bending forward taking off her
panties. I had just produced Sea Blue Tree and was so
involved with the blue that I wanted to produce another
deep-blue work.
Most of the women I painted, until now, had small perky
breasts, but I wanted to get the feel of a woman bending
over with large drooping breasts. This is one of those
seminal pieces, when you look back upon it, that makes
you wonder why you never expanded on the theme, from
the colour to the subject to the title.
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Joy Ride
300 x 150cm
This was the very first big piece I did. It was inspired by
a photo I saw of a guy and girl riding a Vespa scooter. I
was quite nervous at first to tackle such a large canvas.
The mass of open space actually goes unnoticed and is
the best part of the work.
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Sea Point Lighthouse
75 x 75cm
This work should have been called Mouille Point
Lighthouse. But, in naming the work, I slipped up.
Mouille Point lighthouse to me at the time was known
as Sea Point lighthouse.
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Painting; The present
In the beginning gallerist’s were calling my work naïve.
Today they are calling it Pop Art. In the beginning I did
what I was told, I was naïve. I now realise galleries are
running a business and need to put food on their table.
For me right now, it is more about adding to the arts,
not just putting food on my own table. Long term.
This period covers work done in 2004. In early 2004 I
moved from L’Agulhas back to Cape Town to pursue my art
career. I was still selling on average 20 works a month. I
wanted to capitalise on this in the short period of time I
had to do so. I am in the art industry because I like the
simplicity of being alone, and the high-level thinking
required to mix up the right recipe of hype. (I was a
chess champion at school, but do not tell this to
anyone). My present work reflects this statement more
so than any other work.
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My present approach gives me freedom. I have found
media where you have editions and can produce mass
amounts of works to feed the hungry Mr Average who
wants a bargain.
As for my present paintings, I have found a loophole in
mass-production, through the use of varying colours, not
subjects. Picasso did this many times over with his many
styles and subjects. From cubistic guitars to the figures
from the blue period. William Kentridge draws figures
of himself in different settings. Hodgins does so with
male figures, varying colour, position and location. The
subjects and narrative are all similar. So my present
paintings are mass productions of my earlier work.
Things will change as time passes, but for now it is
mass-production as I give myself over to the art world.
The Pop Art world.
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Ma Se Kar Series (30): Powder Blue, Magenta,
Pink, Lilac
30 x 30cm
I had just permanently expanded my range of colours
from nine to 30. I immediately painted a series of cars,
owls and aeroplanes. The 30 works look amazing as one
piece on a wall, but that goes against the main reason
for doing a series, so that the masses can share in the
feast, even if they are just getting the so-called scraps.
My dad and I went on a trip to Bloemfontein one day,
and while driving we counted 32 cars he had owned over
the years. I had vivid memories of each as he rattled
them off. This series is named Ma Se Kar (Mom’s Car). I
chose this because, in a small way, all the cars were also
my mother’s cars. She too spent many hours in those cars
with us, going on holidays and weekend outings. She too
helped wash and clean them on weekends.
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Daisies
75 x 75cm
This work is one of a series I did with daisies. I keep the
subject matter similar and vary the colours.
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Red Bougainvillea
100 x 100cm
Bougainvilleas are amazing. In the townhouse complex
where I lived, there was this massive bougainvillea
growing three stories high. The mass of colours as it
swept up the wall was breathtaking. I went out one day
and bought 10 of these plants in mature state of growth
and planted them in the garden around my apartment so
I could also relish in the mass of colour.
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I Live Near an Airport Series (30): Olive, Air Force
Blue, Kalahari, Mustard
30 x 30cm
I love being in an aeroplane. When I was small our family
flew back and forth to England a few times. As a child, I
loved the feeling of being in that tent-like tunnel. On
one of the trips, I remember watching the movie
Watership Down on the small screen. That is still one
of my favourite books. It is strange how there are a few
places in the world where you could stay forever. An
aeroplane cabin, high in the sky with a good movie and
a window seat, oh, and being a child again.
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Pick a Colour, Pick a Flower
50 x 50cm
In early 2003 I saw the Jackson Pollock movie. It moved
me. It was responsible for me creating these splash
works. I wanted to be a bit different but knew that it had
been done over and over. So I just used my splash effect,
compared to Pollock’s dripping effect, as the background
colour to my existing subject matter.
Now and again I line up a whole load of canvases and
throw paint at them. To plan an exercise where the
outcome is unpredictable is somewhat rewarding in itself.
You get to open up and play like a child. Adults seem to
detest mess, where children take no notice in this simple,
normal everyday happening.
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Oh Ana
100 x 100cm
Up and until this point I never knew artists used carbon
paper to trace works onto canvases. I once thought of
buying an overhead projector and projecting an image
onto a canvas and then tracing it so it was near perfect.
On hearing about carbon paper, I tried it and I liked it.
I decided to introduce a series of this work, and call
them `FHM Girls’, thanks to Charl.
Initially I felt guilty, but that wore off because it
was just a phase, a series, until the next inspiration
comes along.
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Magenta Skirt
50 x 50cm
I remember watching a dance video on MTV and catching
a glimpse of the lead singer being filmed from below. The
proportions looked all wrong, which was challenging.
Most people who see this work ask me, ‘What is it?’
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Kalahari Daisies
75 x 75cm
This work is part of the ‘Daisy Series’. I wanted to break
away from the bright colours and see if I could stir an
emotion with softer, duller colours. I was quite happy
with the final result.
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All the Girls All the Orgasms
300 x 150cm
Most people have many relationships before they settle
down and get married. With these relationships comes
many experiences, one of which is sex. I only named this
work days after completing it, while thinking of a title.
The colourful splashes represent all the colourful
moments and different orgasms with all the girlfriends
before marriage. A colourful, entwined mess.
I created this work as my entry for the Brett Kebble Art
Awards 2004. I realised you have to go the extra mile
to have a chance of winning. I thought I had a better
chance due the amount of paint consumed in the
process of throwing it at the canvas. I decided against
submitting it in the end.
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Protea Series (30): Lime, Yellow, Orange, Red
40 x 170cm
This series of six works, like most of my series, is painted
in the primary and secondary colours. I was at The
Rossouw Gallery one day and Joshua asked me if I
painted the six panels in ‘gay’ colours on purpose. No,
was the answer, they are primary and secondary colours.
Small coincidence.
I chose proteas for the panels due to their simplicity. The
protea is quite a complex flower with lots of petals. I
simplified this into three or four petals to form a protea
shape. My protea shape.
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English Girls Have Great Tits
150 x 150cm
Another ‘FHM Girl’. This was one of the few works I had
in my head that came out exactly as I envisaged it. I
wanted to paint a work to suit the title. I could have
painted any of the ‘FHM Girls’, as I was just after the
title.
While it was drying, I wondered If I had just painted the
French flag. On double checking, I was covered.
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Our Lime Beach House
75 x 75cm
Salomien and I were discussing our return to Cape Town
after spending a year in L’Agulhas. We moved to L’Agulhas
to get away from the rat race and to bring up Richie in
an rural environment where we can give him 100% of our
attention. One of my many lifetime ambitions.
The discussions were extremely painful for me as I was at
complete peace in L’Agulhas. Spending all day with Richie
and only having to paint once a week or so was awesome.
It was an incredible feeling as a man. The irony of it is,
the final decision to move closer to society was made
on the basis that Richie needed stimulation and social
interaction with other children. I was torn apart but
made the right decision. This work reminds me of
this journey.
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Powder Blue Hot Air Affair
150 x 150cm
Can you imagine being in a hot-air balloon out in the
middle of nowhere? No noise other than the wind in your
face. You will not catch me dead in a hot-air balloon, so
I will just have to imagine it.
I used a large canvas with lots of space in order to
emphasise freedom.
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Kevin’s Girl
300 x 150cm
I was sitting at Charl’s place one day and spotted this
record cover on his couch. It was a photo taken by
photographer Kevin Gray. Charl told me the story of
Kevin while I sat in awe looking through his portfolio. I
grabbed my mobile phone, took a picture and painted
this piece in my naïve style. It is slowly creeping up my
favourites ladder. Perhaps Kevin can introduce me to the
model one day. Enough said.
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Home
75 x 75cm
I have painted L’Agulhas lighthouse many times and will
paint it many more. History lesson time.
L’Agulhas lighthouse is the second-oldest working
lighthouse in South Africa. In 1840 it was decided
to collect money in order to erect a lighthouse at the
southernmost point of Africa. The design is based on the
Pharos of Alexandria in Egypt. On 1 April 1847, building
started and was completed in December 1848. On 1
March 1849 the lighthouse started functioning using
sheeps’ tail-fat for the lamp. This produced a stationary
white light of approximately 4 500 candlepower. In 1905
the tail-fat burner was replaced by an oil burner. In 1936
an electric light generating 12-million candlepower,
replaced the oil burner, which still functions today.
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I Don’t Remember Her Name, But I Remember Her
Pink Panties
75 x 75cm
I originally put silver duct tape on the canvas as the
background for this work. The work never came to
fruition because the tape did not stick on the impasto
paste. I often find a colour in the subject that becomes
the background colour. I wanted to be a bit different and
use real duct tape.
The name comes from a male fantasy where you get
to have sex with tied-up women, without ever telling
your wife or girlfriend. That is the sort of monkeys we
really are.
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Sunbathing
100 x 100cm
Almost experimental, considering it was created in the
present time. This is one of those works that just flowed
from the initial idea, to the sketch to the colour. Painted
on the spur of the moment. Days later you’re reluctant to
release the work, because you think it is too simple, not
in line with my present work. But this work was scooped
up the same week it was dropped off at the gallery.
So, yes, there are many of these works that do not reach
the market, and are recycled. Perhaps I should not be so
critical of my own work.
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Three Purple Tulips
75 x 75cm
I have always liked painting tulips. Since painting Yellow
Tulips, I have painted many more. I like to experiment
with panels of colour. Tulips just have that simplicity and
elegance that allows you to use lots of space and colour.
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Like This?
150 x 150cm
I saw a picture on the cover of a magazine, took a photo,
downloaded it and played with it on my computer. In my
early days I used to first select all the colours on
computer. I would mix and match colours with photoediting software until I was happy with the outcome.
This piece was first painted a light shade of blue, which
was not good. I decided to go darker on the blue by
mixing black with the blue on the canvas. It was too
dark. I was making the mistake of mixing my paint on the
canvas and not in a container like I usually do. I was lazy
and paid the price. Someone once told me that lazy
people are the best people to employ as they will find
the quickest way to solve a problem.
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Magenta Blossoms
100 x 100cm
This painting, like Red Roses earlier in the book, was also
sent to London, came back and had a makeover. I added
more blossoms and took out the top section of Magenta.
If you go to www.richardscott.com and click on Press,
Summer 2003, you will see the original under ‘Lennox
Exhibition’.
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Green Taxis
100 x 100cm
Pop! Pop! Pop! I want to exploit this series. I want to
paint it, print it, etch it, inflate it and sculpt it. To me
the framed cars can go on forever. I want everyone in
the art-buying world to have one.
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Bougainvillea Series, Round (30): Yellow, Red,
Blue, Lime
70cm round
Round canvases are a bit of a mind bender when thinking
of subjects. Strange how most paintings are in a square
or rectangle shape. Quite sad really. The bougainvillea
just flow and ooze simplicity on the round canvass. The
round canvas seems somewhat complimentary to my
recognisable circles of the flowers and leaves, adding
vibrancy to the subject.
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Muizenberg Yacht Race
150 x 75cm
This is the most recent work in this book. I am currently
producing what I call ‘My Striped Series’. I completed
quite a number of works in this series, and felt quite
exhausted from the rush of colour. I felt relieved, for
some reason, to go back to painting flat colour. Yet, this
work speaks to me. The simplicity, perhaps the narrative
of the boat in the lead, out in the blue all on its own.
This series was also inspired by a vague memory of tiny
colourful beach huts on Muizenberg beach, Cape Town.
The vast amount of colour in and around Cape Town are
inspiring. From vineyards, to the different-coloured
houses in De Waterkant. From the Coon Carnival to the
sails of the yachts on the sea.
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Painting; The experiment
After compiling this list of experimental work, I noticed
a distinct trait of powder blue and orange in 11 of the
18 works.
I enjoy experimenting and trying out new subjects,
methods and styles. The majority of my experiments go
unnoticed by galleries. This, I think, is a compliment.
Nonetheless, I will continue to experiment and release
seminal work.
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1920
75 x 75cm
This was a seminal piece. I wanted to create a different
style. I call it ‘paint by numbers’. I have only produced
four works in this style. This is work different to my thick
black-line style in that it allows questions to be asked.
The implementation of it is easy. You take an image in a
photo-editing package, convert it to three colours. Then
just replace the colours with the ones you want. You then
draw it freehand on the canvas and paint in the colours.
It is so simple, yet effective.
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Orange Desire Yellow Fire
150 x 150cm
This is still my all-time favourite piece. I have many
works knocking on the door, but the decision had to be
made. In the queue are: the ‘Charlie Series’, Fields of Gold,
Nine Lives, Blue Animals, Blue Friend, Gauguin’s Yellow
Christ, 1920 and Our Lime Beach House. Strangely enough,
most of these works are in my experimental period.
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Blue Animals
75 x 75cm
This work was originally orange. I then added a blue line
to give the subjects a sort-of aura. It is one of my
favourite works, yet it did not get much attention in the
gallery. This bothered me because I like it. Perhaps the
animals are a little weak. I have made a mental note to
pursue various works of this type with different subjects.
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Sonsondergang
75 x 75cm
In 2002 I did this piece of a sunset and hung it on
my wall. I was moving house at the time and was not
prepared to pay R2 000 to a removal company. While
discussing this with a friend, he said: ‘If you give me
that painting, I’ll move your stuff.’
The work was inspired by the ‘Storm Series’ I did. I did
eight storms for my London exhibition, of which seven
sold. The storms are simple works that cannot be massproduced. I was looking for another outlet and produced
this work. I gave it the Afrikaans title as my friend is
Afrikaans-speaking.
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Amethyst Storm
75 x 75cm
Quite a different piece in comparison to my traditional
style. When I first started out painting I used a product
called Painter’s Mate from the hardware store. It is a
standard silicone sealer, but it dried too quickly and was
thus not viable. I wanted to create a storm feel and
needed more texture. It worked. I got these big
protruding swirls and it dried like that. I used a sponge
to get the effect of the swirls. I did a series of eight in
different colours.
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Heat
75 x 75cm
I am angry at myself because I ruined this work by
painting a windmill on the orange years after it was
originally painted. I also did a yellow one and painted a
windmill on that as well. I did this work the same time I
did the ‘Storm Series’.
It was a bold move for me but no-one saw what I saw.
The inspiration for this work came from the ‘Winter Series’
I did in 2002.
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Nine Lives
150 x 150cm
As mentioned earlier in the book, I was being called
‘The Cat Artist’. This work was the plan to kill the cat. I
wanted to paint so many cats on one canvas that no
one would buy it. Little did I realise what I had started.
This work is the beginning of the so-called Pop style
in my work.
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You Blow Up That Planet Charlie, I’ll Blow Up This One
85cm round
This work is part of a working series called ‘Charlie’. All
the works are painted on round canvases. The first one
was produced in July 2003. My plan is to release one or
two a year. As one sells, so I create the next one.
It is about two guys who go around the universe blowing
up planets at will, generally having a lot of fun and total
disregard for anything.
When I was born, my mom and dad named me Charles
Richard Scott. They followed a family tradition and called
me by my second name, Richard. At school, the teachers
would call out ‘Charles Scott’. This resulted in the kids
mocking me throughout the year because they knew me
as Richard. I think this is coming out in these pieces.
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Gauguin’s Yellow Christ
150 x 150cm
The decision to sell my equity in my Internet company
was taken while on honeymoon in Arniston. I took with
me five art books from the library. One was a book on
Paul Gauguin. I remember having to copy Gauguin’s work
in art classes at school.
The work that most impressed me in the book was
Yellow Christ. Only years after did I paint this piece.
I painted it for myself and it hangs in my personal
collection. I am not religious in any way. Maybe I am
just a religious follower of the simplicity with which
Gauguin created his Yellow Christ.
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Four Powder Blue Giraffes
100 x 100cm
This was a spin-off of Little Houses on the Prairie. It was
originally orange and blue with elephants and rhinos on
and called Mommy and Daddy and All The Animals at the
Zoo. It even hung, for sale, in a gallery as such. I walked
into the gallery one day, took it home and painted it
blue. If you go to my website under Summer 2003, you
will find Mommy and Daddy and All The Animals at the
Zoo, the work I painted over. Something in me just
decided to paint over it – and powder blue at that. It
works for me. I like it.
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Pa Se Kar Series (30); Geel, Oranje, Pers, Blou
30 x 30cm
I was experimenting with colours and frames around my
work. I liked the effect of the colours surrounding the
subject. I chose one of my favourite subjects and
produced a series. When we were kids, my dad changed
cars more often than he had haircuts. I was intrigued at
the new cars, hence the title, in Afrikaans, referring to
dad’s cars.
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Little Houses on the Prairie
100 x 100cm
I bought Paul McCartney’s book on his artwork. I read it
in a day. The next day I painted this piece. I do not know
if there is any influence of his here. You decide.
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I Saw Cape Town From an Aeroplane
75 x 75cm
My son asked me to draw him a Jumbo jet as we sat in
my studio. So I drew him a Jumbo jet. You are looking at
what I drew. The same happened with the ‘Owl Series’ and
the ‘Car Series’. I transposed the drawing I drew for my
son onto the canvas.
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Oh Daisy 2
50 x 50cm
This work was the result of me trying to marry my splash
style with my thick black-line style. I had no inclination
of what I was going to draw as I splashed the paint on
the canvas. The outcome of the splash determines the
subject matter. I tried numerous works like this, to no
avail. They were not as innocently orchestrated as this
piece and have subsequently gone into my recycle bin.
All 10 of them. The title is a play on words with the
flowers being the female name, and the splash being
the orgasm.
This is just one of those great things that happened on
one day that cannot be repeated. Like the experimental
etching is always the masterpiece, so do not print it
on newsprint.
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Colourful Seaside Village Series (30): Blue, Orange,
Yellow, Powder Blue
50 x 50cm
I was looking at a blank canvas from my studio in
L’Agulhas thinking what to paint. I decided to draw what
I saw from the studio. The studio happened to be the
double garage. The house we lived in had a spectacular
view of the sea and the village. You could throw your
fishing line in the sea from the balcony. These works are
a result of what I saw in the 270° view. I also added in
lots of different colour. The original work, a seminal
piece, got good attention from the galleries. This
prompted me to do a series. The original took me ages
to complete, compared to my existing work with one
or two colours.
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Yellow Orgasm
150 x 150cm
This was a derivative of All the Girls All the Orgasms, a 3m
piece I did.
The generosity I afforded myself in the volumes of acrylic
used to complete All the Girls All the Orgasms, was a great
feeling. There you are, wanting to create something
different. When your material budget is unlimited, you
seem to create your best works.
With this particular work, I wanted to see the effect with
just one splash. Would the limitation on materials give
me the same expressive feeling as All the Girls All the
Orgasms. I think not.
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Hang Vrug Series (4)
50 x 50cm
I had an Afrikaans-speaking friend in my first job. He
taught me all the Afrikaans slang like ‘hang vrug’. Directly
translated, it means ‘hanging fruit’, referring to a
woman’s vagina. Yes, once again, the name only came
after completing the works. I did the works, in the first
place, as a result of a little doodle sketch I had done.
I wanted to make the work a small series, thus swapping
the colour around on four works. I also added in the
frames to break away from my more traditional
full-colour works.
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As the Pig Jumped Over the Moon
75 x 75cm
On one of those good old Friday nights at Hout Bay
Gallery, Marika said I should paint pigs. As with many
of Marika’s suggestions, they go in one ear and out the
other, but this one stuck. This work is the second one I
did with pigs. I added in a child-like nursery-rhyme
theme based on the cow jumping over the moon in ‘Hey
Diddle, Diddle’. These are the kinds of work I paint with
ease, as they have a cheeky, naïve angle.
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“I am sure that Richard’s ‘lateral thinking’ approach to
the processes of art is going to afford us with much
amazement and amusement in future!”
Earle Parker
Sculpture
Sculpture
I knew what I wanted to sculpt but could not find the
right method and tools to create what I had in my mind.
After many months of research, I purchased a fret saw.
This was the answer. Each sculpture is cut out of a block
of jelutong wood with the fret saw.
I then approached many foundries who said they could
not cast this piece due to its complexity. So I resorted
to painting the wooden cats with acrylic. This worked
well and the first three sold at the VEO exhibition in
December 2003. Lilac Cat was accepted for the Brett
Kebble Art Awards 2003 finalists’ exhibition.
stage and sent to the foundry for casting. Each cat
weighs 9kg. Weight was one of the elements I wanted
in my sculpture.
Once the cats were back from the foundry, they were
individually punched with their name and number and
sent off for powder coating, the final process.
I do not make artist proofs in any of my media. It is
a decision I took to give the work more value. I do not
believe in keeping artist proofs to sell in the future.
Eventually a foundry was found who could help cast the
piece in bronze. It took up to 12 months to get the final
product after many trial runs with casting.
Two silicone moulds are made, one for the outer frame
and one for the inner cat. The two are joined at the wax
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Sculpture; Pop goes the cat – Sue Lipschitz
What is art? The question seems innocent and simple,
but the word ART has come to be used indiscriminately
for so many forms of human activity, from the greatest
inventions to competence in golf or hairdressing. So
no single formula can really cover such a wide range of
ideas. Even if the definition of art is restricted to an
arena that includes architecture, music, drama, literature,
painting, sculpture and crafts, we don’t seem to get a
better picture of what it’s all about. An artwork is not
thought out and settled beforehand. While it is being
done it changes as one’s thoughts change. And when it is
finished, it still goes on changing, according to the state
of mind of whoever looks at it. Picasso taught us that
reason and imagination, when in full gallop, know no
limits. So it is with techno-artist, Richard Scott.
To let the cat out of the bag, Richard’s Kid Cat Puzzles are
an artistic enigma! They are a toy designed to test our
knowledge, ingenuity and patience. They are gloriously
298
funky artwork, which stops us in our tracks at the
novelty of the creativity. From the savvy art collector
to the kid who loves the simplicity of the bright
colours and imagery, the impudent bright cat puzzles
call for tactile involvement and delight on different
levels. The cats, though almost identical, are not
interchangeable. No two puzzles are alike. Every one
has nine lives.
Richard’s early career as a technical illustrator has
stood him in good stead to become the totally
unconventional artistic technologist that he is
today. The limited edition of 250 Cheeky Cat Puzzles
has virtually sold out in one year, to collectors in
South Africa and elsewhere. Consider yourself lucky
if you have one of these gems in your collection. I
have one in mine!
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Sculpture; Wood
Green Protea
23 x 23 x 5cm
Jelutong wood, enamel and acrylic
This work is cut out of a block of jelutong wood and then
painted with enamel and acrylic. The signature is routed
into the side to ensure consistent branding.
I love the robust element of the protea and the lime
green just gives the protea a bright contrasting feel,
compared to almost camouflage colours of the protea.
300
301
Sculpture; Wood
Daddy’s Blue Car
23 x 23 x 5cm
It is quite exciting drawing images on a block of wood in
anticipation of the outcome. One of the limitations with
wood and my style is that all the elements, like the
windows and eyes, need to be attached to something.
This is challenging, but adds another dimension to my
work. The initial grey areas of media are a challenge. You
need to take the time to explore and understand all the
minute details of how the medium works, and works best
for you. Being a perfectionist, I also take my time to
understand certain technologies that are required to
produce my work in different media. Most of these
technologies are outsourced.
I have a fascination with cars, probably the reason they
keep coming up in my work.
302
303
Sculpture; Wood
Powder Blue Cat
23 x 23 x 5cm
Cats were the first sculptures I produced. I chose cats
because they were my most popular painting at the time.
Strange how you are subtly influenced by what happens
around you. The powder blue is addictive for me. I can
never get enough.
304
305
Sculpture; Wood
Passion
23 x 23 x 5cm
It all started when I did a series of drawings in 2002
called ‘I Love You’. It was about a married couple and
their everyday happenings. I used the drawings to do
experimental light boxes in 2003. This sculpture was
an extension of the light-box experiment. I chose red
for passion.
306
307
Sculpture; Wood
Yellow Daisies
23 x 23 x 5cm
Cutting flowers out of a block of wood is hard work, but
rewarding as you see these flowing petals appear out of a
chunk of wood that has been in your studio, as such, for
a month. I wanted the daisies to be as bright as possible,
thus choose yellow.
308
309
Sculpture; Wood
Kid Cats (250): Orange
24 x 24 x 3cm
Superwood, enamel, acrylic and plastic
Edition 250, no artist proofs
I was sitting watching Richie putting a wooden puzzle
together. The next day I cut one out in nine different
shapes and colours. It was going to be my way of
teaching him about shapes and colours. It was a hit with
him and all the kids who came to visit. It then hit me
that I can turn this into an artwork. I battled to find
white plastic pegs for the holder. I was in a toy store
looking at the existing puzzles and I looked up and saw
the game ‘Battleships’, which we used to play when we
were kids. The white pegs were perfect. The problem was
there were only enough white pegs in each game for 19
puzzles. I ended up buying 10 games only to discover
they had changed the pegs. I eventually commissioned
an engineering company to make up the pegs for me.
310
311
Sculpture; Bronze
My Cat (7): Lime
23 x 23 x 5cm
Bronze, powder coated
Why powder coat them? That is what everybody asks.
For starters, I wanted to be different and appeal to the
trendier art buyer who may be looking for a bronze
sculpture. Bronze costs the same as stainless steel and
is a softer metal with which to work – thus, more
functional for this purpose. Secondly, I battled for over
a year to get the patina right. I even bought the book.
I wanted something bright and parallel with my current
colours. Powder coating was the answer. I am not the
first to do this, it just suited me.
312
313
Sculpture; Bronze
Cheeky Cat (7): Yellow
23 x 23 x 5cm
Bronze, powder coated
Cheeky Cat is the second of three bronze cats I produced.
Each of the three cats is editioned to seven. Each of the
seven are different colours.
314
315
“Richard’s work has probably been underestimated because of
its apparent light-heartedness and charm.”
Sue Lipschitz
Print
Print
Lithographs were the first of the print media to which I
was exposed. I knew enough about standard printing
processes from my technical illustration and graphic
backgrounds. I took to it like a duck to water. In the
beginning there was too much water and I wanted to
do everything. I soon discovered etching and all the
different grounds and etching techniques. I got
sucked right into prints and it quickly became my
favourite medium.
One set of my prints involves dipping old or discarded
sculptures into acrylic paint and stamping them onto
canvases.
prints. So I dug deep and experimented with grounds and
lifts and tints. I discovered some wonderful things and
produced some amazing works. I can spend all my time
doing prints due to the technical and versatility issues
an artist must overcome in this medium.
Etching to me is a technical nightmare to begin with.
But soon the smells of inks and grounds overwhelm you.
Absorbed, you find yourself lifting that paper off the
plate to see a masterpiece, only to remember it is a test
run on newsprint.
One of my main goals, through all media, is to keep my
recognised style. I want people to recognise my art in all
media. When I first started etching, I found monotypes
were the easiest and best. But I soon learnt that
monotypes do not have as much value as editioned
320
321
Print; Etching
Daisies
10 x 10cm
Hard ground
Printed on Fabriano Tiepolo 290gms
I find hard ground the most challenging to work with
from a process point of view. The medium lends itself to
fine etching, which is in great contrast to my recognised
style carried through in other media. I do, however, find
it refreshing to break away from the norm and create
intricate and delicate works. This work just happened
while staring at a plate freshly covered in hard ground.
I wanted to use the limitations of the medium within
my style and produce a fine line version of the popular
daisies.
322
323
Print; Etching
Cheeky Black Cat
10 x 10cm
Aquatint and liquid ground
This work took me a while to figure out. I wanted to
create a piece with thick lines. I used liquid ground to
draw the cat, then aquatint for the background.
Many of today’s modern etchings are loose, unlike the
technically correct etchings produced in the 1700s. I
would like to relive the way in which etchings were
originally produced. Everything was clean cut and put
together like a manual. I want people to see this when
they look at my etchings.
324
325
Print; Etching
Daddy’s Car
10 x 10cm
Aquatint
I wanted to use aquatint to produce the line work in this
piece. The result is not as bold as a monoprint but it does
have a lot more character with the broken lines. Yes, here
is that car again. The one I am going to Pop-pollute the
world with.
326
327
Print; Etching
Pop Heart Series (3): Warm Sepia
10 x 10cm
Drypoint
I was doing etching with some friends. During the
conversation I distantly heard the words ‘pop heart’. I
thought I would take that for myself and produce a work.
I overindulged on the ink to get a wet effect, pretty
much like life today, overindulgence and pop, pop, pop.
328
329
Print; Etching
Black Cat
10 x 10cm
Aquatint and liquid ground
Following the outline of ‘Kid Cats’, the superwood
sculptures I produce, I wanted to give viewers the
opportunity to ‘fill in the blank’ with their own cat. We
have all had a cat at some stage in our lives. Leaving this
empty allows you to put the cat in your mind’s eye into
my etching.
330
331
Print; Lithography
Home
27 x 27cm
Lithograph
Printed on BFK Rives 300gms
I discovered lithography at The Artists’ Press with Mark
Attwood. Lithography is an amazing medium. It allows
me to marry my graphic, technical and artistic skills. I
chose to stick to a winning formula on my first try and
produced an edition of 35 of the L’Agulhas lighthouse.
The thing I like most about lithography is the
imperfections. I love it when something is out of kilter.
332
333
Print; Lithography
White Bougainvillea
17 x 17cm
Lithograph
This work is one of a three-part series; Bougainvillea,
Orchard and Tree. They are the first lithographs I ever did.
I wanted them to be simple, and uncoloured. Because
galleries generally like my colour work, I wanted to create
a limited series of works that would become sought after
by serious buyers, who could then claim to have my first
lithographs.
The work is drawn onto a photo polymer plate. It is a
light sensitive, water-washout polymer plastic printing
plate. It is then printed on a Vandercook letterpress proof
press, as a relief print.
334
335
Print; Lithography
Orchard
17 x 17cm
Lithograph
Printed using the same process as White Bougainvillea,
this work is the only piece I have done with the tree in
this shape, long and thin. The name came afterwards as
it looked like an orchard.
336
337
Print; Giclée
Crimson Panties
80 x 80cm
Giclée
Printed on Hahnmuhle Photorag 308gms
I scanned the painting Blue Panties into the computer,
converted it to three colours, and saved it as a .gif file.
I then imported it into a vector-based software package
and traced the work so I had a vector version. I then sent
it off for printing. Vector allows you to scale works up
and down without losing quality. All my giclée prints are
done in this form.
338
339
Print; Giclée
Protea Series (9): Lilac, Orange, Yellow, Olive
16 x 16cm
Giclée
These works are digitally created from scratch. All my
giclée prints are produced in this manner as opposed
to photographing original acrylic works.
340
341
Print; Giclée
FHM Girls Series (9): Why, Come Here, Hi, Come Here
2, Now it’s Your Turn, Show Me Yours First, Hello Boys,
This Way, Who Wants To Know
15cm round
Giclée
I decided to release a set of ‘FHM Girls’ in print due to
their popularity. These girls are becoming more popular
than the cats, so what I have decided to do is create a
different position every time I create a new one, and
so the death of the ‘FHM Girls’ will come about.
342
343
Print; Stamp
Army of Black Cats
75 x 75cm
Acrylic stamp on impasto paste
Monoprint
I was looking at a blank canvas and wanted to try
something new. I grabbed a cutout of a cat from one of
the Kid Cat Puzzles and dipped it into black paint. The
result was this work and three others in different colours.
344
345
Print; Stamp
Tulips Series (9): Powder Blue
75 x 75cm
Acrylic stamp on impasto paste
Monoprint
This was the first work I produced using the acrylic
stamp method. The stamp was an old wood sculpture I
discarded. I added different colour pastels to the nine
prints I did to make each one unique.
346
347
“Richard has an almost impossible-to-satisfy desire to
explore and to experiment.”
Charl Bezuidenhout
New Media
New Media
I am relatively new to this medium. It seems anything
goes. New Media is challenging in that there are not as
many boundaries as with painting or sculpture. Where
do you start in the mass hysteria of global connectivity?
Everything has been done. At the Brett Kebble Art
Awards, I was a bit taken aback by video installation
being seen as New Media. This, to me, is now quite an
old medium. As the name suggests, New Media needs to
constantly evolve. To me New Media is work that 15-yearolds would enjoy. Then, again, because I am new to the
medium, this is a virgin opinion.
I decided to enter the New Media category with an idea
I had been toying with for a while. I discovered that I
could draw on a mobile phone and output the drawing
to giclée print.
Unbeknown to me, I discovered an amazing medium. I
did not get to eat the carrot but I had created a new
‘new medium’ for me to channel my creativity.
Nonetheless, my contribution to the world of New Media
was spurred on by Brett Kebble. He dangled a R200 000
carrot in front of all South African artists.
So I went to the drawing board and spent months and
months concocting a plan to grab the carrot and eat it
while all the other donkeys looked on.
352
353
New Media; Mobile phone
MARS 2004 (Mobile Art Richard Scott): Phone
Dimensions varied
Mobile phone and giclée print
After drawing a picture on a Sony Ericsson P800 mobile
phone I was inspired to explore this medium further. I
immediately purchased a Sony Ericsson P900 and started
playing. The limited capability of the phone in
application would become the canvas, which suited my
style of naïve Pop Art. The mass global demand for new
concepts, through technology, would be the vehicle.
Mobile phones are not designed to be canvases for
artists.
Artworks are digitally drawn on the phone using the
stylus. The work is then e-mailed from the phone to the
print studio for giclée prints.
354
355
New Media; Mobile phone
MARS 2004 (7): Yellow Cat, Red Bougainvillea,
Afrikaner Wife, Daddy’s Lime Car
16 x 16cm
Giclée
This edition of giclée prints are 16 x 16cm image size,
22 x 22cm paper size. Printed on 308gms cotton paper.
The prints are made to interpret the original drawn
images on the phone, chunky, block like and pixilated. I
chose seven of my most popular images when I created
these works.
This work was chosen for the finalist exhibition of the
2004 Brett Kebble Art Awards. This work was stolen from
the exhibition.
356
357
New Media; Light box
Light Years Away
Dimensions variable
Obeche wood, enamel and light fittings
I was inspired to try something using light. Although
quite bland in appearance, the light boxes are quite
effective as a functional lamp, as originally intended.
I used a series of cats, Protea and people as subjects.
I was not too happy with the outcome due to the
size of the boxes. I should have made them as big
as buildings. These boxes sold out at my Rossouw
exhibition in April 2005.
358
359
“Richard teases the viewer with suggestions of a
wonderful life.”
Glynis Coetzee
Stuff
Stuff; Influences
They start with Mr Fuel, my art teacher when I was 16.
He made art interesting for me.
magazine down and thinking I want do something
that big. The lows inspire the highs.
Then there is Vincent van Gogh who taught me so much
in my school years about uniqueness and colour and
madness and not caring what people thought.
Time is an influence because one of the bitter-sweet
facts about art, for an emerging artist, is that there is so
little time to create all the things you want, but so much
time to pass before you become established.
Paul Gauguin for painting masses of flat colour.
Takashi Murakami for his concepts, distant
implementation (delegation) and commercialisation.
William Kentridge for making me dream that one day
I too can sell an etching for R50 000.
Magazines like ArtReview and Art in America are a massive
inspiration. When I read them, I feel at a real low,
brought on by the amazing works being produced in
the art world. The inspiration comes after putting the
364
The sea on those grey winter days. When we lived in
L’Agulhas we had a 270° view of the sea and you could
just sit there all day watching it. Being able to catch and
eat your own food from the sea is very rewarding for a
man.
Then there’s being alone. This is a huge inspiration for
me and has a huge influence on my work.
365
Stuff; Biography
Born
1968
Studies
1989 – Educated at Birch Acres Primary and Norkem Park
High, Kempton Park. I remember spending four years at
school learning art. Did not think art was fun at all until
my last year with Mr Fuel, who is first on the list of those
responsible for me wanting to paint more. Matriculated in
1987. Spent 13 years dabbling in art. No further formal
art training. 1991 - Qualified Technical Illustrator.
2002 – Full-time Artist.
Exhibitions 2002
January – Hout Bay Gallery
April – Bay Art Gallery, Kalk Bay
May – Knysna Fine Art Gallery
June – Art Channel Diversity 4, Internet
June – Ekurhuleni Finalist Exhibition, Johannesburg
366
Exhibitions 2003
March – Lennox Gallery, London
June – AVA Gallery, Cape Town
July – Hout Bay Gallery
August – Grosvenorvilla Art Gallery, Cape Town
September – VEO Gallery, Cape Town
October – Brett Kebble Finalist Exhibition, Cape Town
December – VEO Gallery, Cape Town
Exhibitions 2004
January – Sue Lipschitz Gallery, Plettenberg Bay
January – Rossouw Gallery, Cape Town
September – Winchester Mansions, Cape Town
October – Brett Kebble Finalist Exhibition, Cape Town
November – AVA Absolut Vodka 9, Cape Town
November – Muiz Studio, Muizenberg
November – MOJO MODERN Gallery, Johannesburg
December – VEO Gallery, Cape Town
367
Stuff; Biographies
Gus Silber
Journalist and author, is an art collector of modest
means and exquisite taste. He lives in his own private
contemporary art gallery, surrounded by Richard Scotts,
in Johannesburg.
Andries Loots
Studied a BA Degree at the University of Potchefstroom
and a BA Fine Arts Degree at the University of South
Africa. He was an art critic for the morning newspaper
Beeld for a number of years and managed an Arts and
Crafts Training programme in association with the UN on
Grande Comore Island. With 23 years of South African and
international experience, he is passionate about art and
is a gallery owner and curator in Cape Town.
368
Sue Lipschitz
Arts activist, international art curator and consultant,
including SA Embassy, Washington. Gallery owner and
fundraiser extraordinaire, Sue Lipschitz lives her life for
art, and in turn helps others to live better lives. She was
the winner of the Argus Business Achiever Award in 1987,
and the Disa Award for Achievement in 1990.
Claire Breukel
A Photography and English graduate from UCT. She
started curating by chance with the 2002 Cape Town
Month of Photography. Went on to work at the
Association for Visual Arts, which led to her position
as co-curator at the Brett Kebble Art Awards.
369
Stuff; Biographies
Mark Gillman
South Africa’s loudest and most listened-to breakfast
show DJ, Mark Gillman began broadcasting on Good Hope
FM in Cape Town in 1991. Six years later, he moved to
5FM, upping the volume for a nationwide audience. He
also runs a company called TMGS Creative, specialising in
the development of creative radio technology.
Marco Garbero
Passionate and from Torino, Italy, holidaying in Hout
Bay. Molto debonair, art collector and Latin, has been an
international commuter since discovering South Africa
27 years ago. (Excerpts taken, with permission, from an
article written by Hilary Prendini Toffoli, published in
Style magazine, October 1994)
Glynis Coetzee
Studied Architecture at UCT from 1988 to 1993. She
worked in an architectural practice, interior design
company, property survey company, desktop publishing,
while doing several courses in computer programming up
to 1999. Then joined a software development company
and worked as Project Manager in South Africa and the
USA until 2003. Then went into partnership in VEO
Gallery. Member of the Chartered Institute of Building UK
and the Architects & Surveyors Institute.
Charl Bezuidenhout
After studying Law at the University of Stellenbosch,
he spent five years travelling and working in Europe and
USA. Back in South Africa he became active in the music
industry and the visual arts, where he pursued his passion
for the arts and marketing. In 2004 he started Worldart,
a company that provides marketing and management
services to artists.
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371
Stuff; Biographies
Joshua Rossouw
Joshua’s involvement in the world of art started in 1991.
He currently owns two galleries, The Rossouw Gallery in
Cape Town and The Fisherman’s Gallery in Hermanus,
which have become prime showcases for local and
national emerging art talent.
Vincent van Zon
Collector of art, specialising in contemporary and Pop
Art. International marketing specialist. Also known for
organisation consultancy. Co-founder of the first ever
communication company in the Netherlands that went
public in 2000 (SNT). Co-producer of the first Western
martial arts movie Fighting Fish and business consultant
manager of the brand Marlies Dekkers.
372
Earle Parker
Started taking evening classes in sculpture with Michael
Mitford-Barberton at the Cape Technikon in 1967. Three
years later, he was invited to teach in the same
department, where he lectured part-time until 1984.
During this time, Earle also started casting sculpture for
other artists. Earle has been casting for more than 30
years, and is also a sculptor himself.
373
Stuff; Photo descriptions
Fr – Monday, Tuesday, Wednesday, Thursday, Friday,
Saturday, Sunday, Monday, 150 x 150cm, impasto
and acrylic on canvas
10 – Yellow Street Lights, 75 x 75cm, impasto and acrylic
on canvas
13 – Muizenberg Beach Huts, 75 x 75cm, impasto and
acrylic on canvas
14 – Wow, 150 x 150cm, impasto and acrylic on canvas
17 – New York Taxis (Detail), 200 x 100cm, impasto and
acrylic on canvas
18 – Group exhibition at MOJA MODERN, Johannesburg
21 – Blue Panties, 75 x 75cm, impasto and acrylic on
canvas
22 – Drawing Best Friends in 2003, 150 x 75cm, impasto
and acrylic on canvas
29 – Andries Loots opening my exhibition at VEO Gallery,
December 2003
32 – Painting Bourgainvillea, early 2002, 100 x 100cm,
impasto and acrylic on canvas
374
57 – London Exhibition at Lennox Gallery, March 2003
70 – Marco Garbero ask if he could use an image of
mine on a T-shirt. He wanted to surprise his son,
George, on his wedding day. All the guests put on
a Richard Scott T-shirt and surprised George and
his new wife, Marie-Anne. The photo was taken at
Villa Ephrussi de Rothschild, Nice, France
79 – Brett Kebble, Debbie Parker and me at Grosvenor
Villa exhibition, August 2003. Brett Kebble opened
the exhibition
292 – Earle Parker working on My Cat bronze
317 – Printing the lithograph, Home, with Mark Attwood
at The Artists’ Press
348 – January 2002 in my home studio, Hout Bay
361 – August 2004 in my Hout Bay studio
388 – ‘Flower series’ lined up for packaging and shipping
Bk – Me and Richie in my Melkbosstrand studio getting
ready for my retrospective at the Rossouw Gallery,
April 2005
375
Stuff; Interesting facts
I go through 30 litres of acrylic a month
I sold 500 paintings in my first 24 months as a full-time
artist
I helped to raise over R100 000 for charity in 2004
through donations of artwork
I work in the following media: pencil, pastel, watercolour,
acrylic, oil, lithography, etching, sculpture, new media
and photography
I had the honour of having my work stolen from an
exhibition (Brett Kebble Art Awards 2004)
number of hits comes from Belgium, South Africa,
England, USA, Italy, Switzerland and Netherlands
My work is taken up in various collections in South
Africa, Belgium, England, Holland, USA, Switzerland,
Australia, Ireland, Germany and Italy
I have started my own art collection which comprises 30
works from leading contemporary artists
This book contains 22 085 words and took 417 days from
initial conception in April 2004, to rolling off the press in
June 2005
My website, www.richardscott.com, gets on average 700
unique people visiting each month. This generates 1 000
page requests and 17 000 hits. Requests come from as far
afield as Mexico, Brazil, Slovakia and Japan. The greatest
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377
Stuff; Thanks
Joshua Rossouw, one of only a handful of people who
shares my long-term vision as a Pop artist and fine artist
Salomien for letting me sit up late at night drafting my
book and building our future
Glynis Coetzee and Estelle Coetzee of VEO Gallery. Your
vision is both as parallel and as passionate as mine
Sean Fraser for proofreading, Karl Staub for photoediting, John Commaille, Janet Scott and Graeme Wilson
for first-draft edits
The people who gave of their time and thoughts to write
essays. I read them over and over and over and draw
different inspirations each time I read the words
Charl Bezuidenhout for publishing
Keith Schaper for all the negative comments
The buyers of my work, for believing in me
Gus Silber for putting his money where his mouth is
Photographs: Salomien Scott, Ken Scott, La Presse Italy,
Caroline Diesel, Tamar Mason, Charl Bezuidenhout
My mom for all her time in helping me prepare my
canvases
My dad for all the hands-on support, guidance and stuff
entrusted by dads to pass on to their sons
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379
Index; Paintings
Paintings
1920
A Friend
All the Girls All the Orgasms
Amethyst Storm
As the Pig Jumped Over the Moon
Bicycle Race
Blonde Woman with White Socks and White Panties
Blue Animals
Bougainvillea Series (30)
Bougainvillea Series, Round (30)
Bourgainvillea
Camp and Loving It
Cape Town
Cat Series (180)
Cheeky Lilac Cat
Cheeky Lime Cat
Cherry Tree
Colourful Seaside Village Series (30)
380
256
176
220
264
290
106
122
260
178
246
114
104
94
108
162
140
144
284
Cyan Panties
Daisies
English Girls Have Great Tits
Fields of Gold
Fishing Boats Returning to Hout Bay in Winter
Flower Series (30)
Four Powder Blue Giraffes
Four Seasons
Fresh
Friends Series (5)
Gauguin’s Yellow Christ
Green Taxis
Grey Cat
Hang Vrug Series (4)
Heat
Home
Hot
House on a Hill Through a Window
136
206
224
92
120
160
274
102
174
150
272
244
90
288
266
232
146
148
381
Index; Paintings
Hout Bay Summer
I Don’t Remember Her Name, But I Remember Her
Pink Panties
I Live Near an Airport Series (30)
I Saw Cape Town From an Aeroplane
Joy Ride
Kalahari Daisies
Kevin’s Girl
Like This?
Lime Cat
Little Houses on the Prairie
Lonely Ship in a Sea of Sky
Long and Winding Winter Road
Ma Se Kar Series (30)
Magenta Blossoms
Magenta Skirt
Mind, Body and Soul
Muizenberg Yacht Race
My Blue Friend
382
152
234
210
280
194
218
230
240
118
278
154
112
204
242
216
116
248
100
Nine Lives
Oh Ana
Oh Daisy 2
Olive Daisies
Olive Face
Olive Tree
Orange Desire Yellow Fire
Orange Playground
Our Lime Beach House
Pa Se Kar Series (30)
Pick a Colour, Pick a Flower
Pink Panties
Play My Blue Movie
Powder Blue Hot Air Affair
Protea Series (30)
Purple Playground
Red Bougainvillea
Red Roses
Red Swinger
268
214
282
138
156
170
258
190
226
276
212
96
192
228
222
180
208
172
158
383
Index; Paintings
Robben Island Lighthouse
Sea Blue Tree
Sea Point Lighthouse
Sea Series (30)
Sonsondergang
Summer Cape
Sunbathing
Three Proteas
Three Purple Tulips
Tree Series (6)
Two Down, Seven to Go
Two Sunflowers
Two Trees in a Field of Sky
White Skirt
Woman on a Swing
Yellow Orgasm
Yellow Tulips
Yesterday Today and Tomorrow
You Blow Up That Planet Charlie, I’ll Blow Up This One
384
184
188
196
186
262
182
236
110
238
142
134
124
84
132
98
286
86
88
270
385
Index; Sculpture, print and new media
Sculpture
Cheeky Cat, Bronze, powder coated, Edition 7
Daddy’s Blue Car, Jelutong wood
Green Protea, Jelutong wood
Kid Cats (250), Superwood, Edition 250
My Cat, Bronze, powder coated, Edition 7
Passion, Jelutong wood
Powder Blue Cat, Jelutong wood
Yellow Daisies, Jelutong wood
314
302
300
310
312
306
304
308
Print
Army of Black Cats, Acrylic monoprint
Black Cat, Etching, Edition 7
Cheeky Black Cat, Etching, Edition 7
Crimson Panties, Giclée, Edition 7
Daddy’s Car, Etching, Edition 7
Daisies, Etching, Edition 7
FHM Girls Series (9), Giclée, Edition 7
344
330
324
338
326
322
342
386
Home, Lithograph, Edition 35
Orchard, Lithograph, Edition 14
Pop Heart Series (3), Etching, Edition 7
Protea Series (9), Giclée, Edition 7
Tulips Series (9), Acrylic monoprint
White Bougainvillea, Lithograph, Edition 14
332
336
328
340
346
334
New Media
MARS 2004 Series (7), Edition 7
Light Years Away, Light Box
354
358
387
“I would rather someone wanted my art than had it in
their possession.”
Richard Scott

- Richard Scott

Transcription

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